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Blooding Mask - Interview

UK based dark ethereal/esoteric project Blooding Mask was founded in June 1992 by Maethelyiah, since 2011 better known as the frontwoman of the cult British gothic rock/post-punk band The Danse Society. Blooding Mask is all about magic, rituals, darkness... It started as a solo-project of Maethelyiah, but things have changed since then.  So far, Blooding Mask released four albums: All The Colours Of Death in 1993, What That Hollow Shows Through in 1994, The 9 Pearls On The Trail in 2000, followed by the darkest one, The 5 Monsters (2008), an album that is considered an original soundtrack to the same entitled novel that Maethelyiah wrote in 1995. After almost 13 years of silence, Blooding Mask announced a new return, and Paul Nash, the founder and guitarist of The Danse Society and Maethelyiah's husband, joined the project. Blooding Mask is now working with exceptional guests on the fifth album, which will be even darker, coming in spring 2021. While spring is almost here, the interview with multitalented Maethelyiah is already here.  In this extended interview, you'll not only get to know Blooding Mask better but also Maethelyiah. As a musician and as a person. We were discussing the usual as well as unusual things...

Interview with: Maethelyiah
Conducted and edited by Jerneja

Jerneja: Hello Maethelyiah, it's great to see that you decided to revive your almost forgotten project Blooding Mask. What was the reason behind this decision?
: Blooding Mask was founded in 1992 and, since then, it was never an album a year project. The themes of each album, the esoteric contents require research and experimentations that take time. It has always been about niche rather than advertisements and sales. All the time is dedicated to writing and performing rather than advertising it. Most bands sadly live things the other way around, but thankfully it's not like that with Blooding Mask. The objective is to wake up people to what happens on different levels. Many followers report seeing what I describe with "music". It never was forgotten. It only takes its time.

Jerneja: What is Blooding Mask suppose to mean? (I have only found the word "blooding" connected with Blooding Moon or "blooding" of grayhounds with live rabbits.) I'm also curious about what Maethelyiah means and why you chose these names.
: You nearly got there! The secret is in the logo itself, which is extracted from the cover of the first album, All The Colors Of Death. The blood comes out of the left eye of a mask and spills on the Moon. You could summarise it into the formula below:
Mask = body
Soul = blood
Moon = dreams
Body and soul are above the Moon because this is about the soul leaving the body. It can happen in three ways: death, dreams and astral projections. All of them are the key to the first album as well as the entire project. Blooding instead of bleeding because it is not referred to as the actual bleeding as when we get hurt. This process refers to a proper initiation when we take consciousness of the fact we are connected to our body, but we are not entrapped in it. The eye is rigorously left as a hint to the often misunderstood left-hand path to occultism. On one note, the Cambridge dictionary refers to blooding as the smear on the blood of the first fox killed, on the face of the new hunter. I do not support any hunt; we don't eat meat here. It is about the human body.
My name Maethelyiah is my real name. It's the combination of Egyptian goddess Maat and Helius, the Greek sun god. Translated, it's the light of truth and justice.

Jerneja: Would you tell me something (background, reasons,...) about Blooding Mask beginnings.
: It all started in June 1992. It was a time in my life when I was experiencing big changes. Random experiments. I just came out of a band called Dunwich I worked with since 1985, where we did experiment a lot with esotericism and dark metal. I felt the need of letting more of my direct experience emerge, rather than being confined into stories that someone else wrote, no matter how great they were. Besides, at the time, the band took a turn, and I no longer felt involved. So I plugged my old M1 Korg and started working on new demos, which soon attracted the attention of a couple of German labels, and it all started from there. Considering at the time there were no social media and barely a few fanzines on paper, it says a lot about the power of being in the right place at the right time. However, rather than following a schedule, I let Blooding Mask follow my spiritual pace. Moving many times also slowed things down. It started in Rome, Italy and now it's here in Scarborough UK. Who knows where next? We keep feeling we might at some point move somewhere warmer... Funnily enough, the Dunwich initial recordings are being handled with a couple of old demos revived with new recordings at the moment. We all bumped into each other by accident online (they are still in Rome). Of course, being at the right place at the right time is the key. However, a little help with technology helps, as well.

Jerneja: Listening to Blooding Mask's music, I dare to say you weren't preoccupated with genres. Your music is a unique mixture of "million sounds" that are perfectly incorporated- each sound is like a little entity on itself. I've never heard anything like it. How do you get such ideas or "visions"?
: Thank you. It's as if I am an instrument someone is playing. I feel more like some kind of messenger here. The music starts in my head, and it actually sounds in my head ready-made. I often wake up with it. I don't know where it comes from, however, it comes with images. I don't sit and plan to write it. It's the other way around, I sit trying to reproduce what I wake up with, and I know this can get a bit mental when it comes to explaining how to lay the arrangements. However, the live versions, which are strongly simplified, have a powerful effect on the public that makes me very proud.

Jerneja: In Greek mythology, the Sirens were dangerous creatures, who lured nearby sailors with their enchanting music and singing voices to shipwreck on the rocky coast of their island. Correct me if I'm wrong, but I find it similar to your music. Only, in your music, the creatures are (always) different, and they represent the complexity of "psyche".
: The only danger you risk with this music is to wake up to a reality too often hidden. The visions some people have reported match with what I have been describing through the sound, to the point I can't consider them as a coincidence. In rare cases, people report being scared. The owner of MBR Records, the first German label which released All The Colors Of Death, hanged himself. However, most people report feeling energised and happy. Some have the Blooding Mask logo tattooed. In the end, that's the thing with occultism- it gives you back what you bring, amplified.

Jerneja: Tell me something about your four albums... I'm sure our readers will be interested in the meanings of their titles (especially the last two of them have quite unusual titles) and in their concepts or massages. Are they connected, or each of the albums has a massage on its own?
: They are like pearls on their own mounted on the same thread of occultism.
All The Colors Of Death was about how different we perceive colours from each other. Depending on how we die, we change dimension in different ways. If you ever experienced witnessing someone dying, you can feel the soul leaving the body. I witnessed many people dying because for a long time I used to volunteer in a Roman hospital in the terminal department. It was a place where nobody wanted to be. There were many terminally ill people, from cancer to HIV, heart conditions etc. I used to sit there and keep company, holding hands, sometimes singing some songs, reading pages of books or a newspaper. Every time one of them was ready to go, something shifted inside the room, and I knew it was time to stop reading. They'd look at me into my eyes, then somehow I felt they were safe enough to let go. That shift has a colour, just like auras have one. Each one of their own. That's where the All The Colors Of Death idea came from.
What That Hollow Shows Through deals with initiations. Humanity is far too involved in distractions. In order to shift, you need to free yourself from basic issues like anger, greed, and even the wish to become immortal. Interestingly, "Cheope" (Kufu or Cheops) is written in Latin for this reason, like some sort of a joke on him. He believed he was powerful and would have come back in the next world, and so he behaved as if he was above everyone else and thinking he was superior. In the song, he really wakes up thousands of years later, but the terror of not recognising where he was anymore made him wish death saved him from coming back. Once freed of the materialistic issues, you enter the tunnel and ascend. If you genuinely free yourself, you come out of the other side of the tunnel and see the world with different eyes. If not, you'll live every day as the same "lost in the picture of trees". There are too many symbols to mention.

The 9 Pearls On The Trail begins with hints at the nine main stars of the Amphora's constellation. It also introduces the album mentioning Fulcanelli's map of the catholic buildings that covered altar monuments and altars. One uncovered site is under a dead-end train track in southern France. Every chapter deals with symbols that pay respect to a few historical characters. One of them is Saint Pio of Pietrelcina, who my Grandmother knew very well. He was a well known southern Italian exorcist. The whole album is a reflection on how Catholicism has corrupted history.
The 5 Monsters took a different turn. It's based on a novel I wrote. It's about three men on death row introduced to each other in their last supper together. It has more psychological aspects derived from a long study on death raw and serial killers I carried for years. The esoteric aspect is more hidden in this album. The symbols are less evident. With The 5 Monsters, I have analysed the body more than the spirit, for a change.
The forthcoming album will section it, and the Circle will be completed because the Spirit will emerge again unleashed. Why? Because centuries of inaccurate history must end. I know I am not the only one who feels it's time to speak out. The fact that the Pyramids were not built by slaves is no longer a secret.

Jerneja: Can you reveal some more details about your new release? Any dates, title, musical direction, anything?
: Dates are of this earth, not applicable. Every time I tried, I failed to stick with it. The messages come when they want, and it's like looking at the stars. You see the light, but that's a reflection of thousands of years. So the messages I report come from a distant past. Sometimes I think the new album is ready then come more messages, and I give way to them. Musical direction is experimental once again with several languages and atmospheres. There are also some up-tempos, some long prog operatic stories, a Japanese inspired chant on Milano Usui, ghosts talking, Lilith cries in a full vocal nightmare and more. I am having a hard time when trying to squeeze so much stuff in an album. There's stuff for two. The title is Autopsy Of A Dream. The dream sectioned and dead is the hope to suppress femininity from all religions, the big fraud of religions pushing male gods as the sun and the woman as the moon reflecting its light. The big fraud. The sun is Her. And it's time for this truth to be told. They don't want this to be kept in silence any longer. So now I am saying it.

Jerneja: When you first started with Blooding Mask, who or maybe what was/were your influence(s) or inspiration(s), if you had one?
: My Grandmother was always my main inspiration. She was an opera singer with an incredible voice. Apart from her, I am mainly inspired by opera in general (too many artists to have a favourite). On a more recent kind of influence, I'd mention Adam & The Ants, Joy Division, Peter Gabriel, and both Scarfe and Whitaker of the early The Danse Society for sure.

Jerneja: You mentioned your grandmother was an opera singer, and I had this question prepared about your incredible voice. I guess we can assume now it was inherited. Yet, when did you become aware of the power of your voice? It is also interesting how your voice almost hasn't changed in all these years.
: It has actually changed a bit. I think it has gone darker. My earlier demos are much brighter. However, it's still more or less the same. My grandma was really incredible. She sounded like a radio playing. I remember the warm evenings in Pompeii with the breeze waving the nets on windows and her voice coming from upstairs. Nice memories.

Jerneja: As far as I'm concerned, you have (one of) the most amazing voice I've ever heard. What is your vocal range?
: From birdsongs to male songs. I use different registers, especially when recording my choirs. I haven't measured it because it keeps on changing.

Jerneja: Reading your biography, I've noticed the music wasn't your first passion. Ballet was... What caused this to change? And do you still like to dance?
: Long story, but to cut it short, it was due to financial reasons. My parents couldn't afford the dance academy any longer, and I had to give up, sadly. I still love ballet. I loved my pointe, even though I should really hate them because they destroyed my feet. At the time there was no age limit. Nowadays, young dancers are not allowed on pointe until at least the age of 12 to give time to the cartilages and bones to form properly. I started at the age of five. It's ouch every day now, even when I wake up. Pleasure and pain of ballet and high heels. I would do it all again if I could go back in time, though. My fitness level is very inconsistent at the moment due to being diagnosed with ME (Myalgic encephalomyelitis), which is incompatible with ballet training. I had bodybuilding and swimming for a while years ago, but since I had to slow down, I now rely on Yoga. Yoga is definitely more suitable as it can be adapted to the roller coasting amount of energy ME patients have. You can do Yoga when you are completely fatigued, as well as when you feel more energetic. It also helps to keep good flexibility, and the meditative aspect keeps you focused and sane, as well.

Jerneja: You wrote your first song at the age of 12. And when spending some time in Coventry, you were a member of the band Eve & The 6, playing the bass. Tell me something about this youth experience of yours... Was bass the first instrument you've learned to play, and how many instruments do you play?
: It all happened by accident. I was on my first trip to the UK from Italy in 1982. The bassist was too drunk to get on stage for the band. I got an improvised punk makeover, and while they were arguing about what to do with the gig, I realised most of the set was around the same notes. So I had a go following their tape (yes, tape), and the singer realised I was good to give it a last-minute go. We quickly rehearsed, and a few hours later, I had my first gig as a bassist. I am very short, and the bass was so long and heavy, the day after that I could barely move my shoulder. I play the percussions, bass, keyboards and a bit of guitar on a very basic level, just for the sake of writing. I am not that talented as a musician, even though I play most instruments with Blooding Mask. There's absolutely no comparison with my bandmates at The Danse Society, of course.

Jerneja: I love all Blooding Mask music, but at the time, I'm in love with "Ad Memoriam". Would you tell me its "story"?... What about you, which song you keep closest to your heart?
: It's about Pio of Pietrelcina, who my Grandmother (my Father's Mum) knew rather well. He was well known for being a world-known exorcist. He was very grumpy and lonely. She said he was tormented by demons and that his existence was very difficult. People used to queue asking him questions all the time. He was in high demand, considering at the time even illness like epilepsy was regarded as diabolical possession. The lyric is deliberately in Latin and is questions to him. It says, "what do you remember of the early lights of the dawn? What do you remember of the dark nights and the echoes of the voices? And the pain of the stigmata?" I based the song on the feelings I absorbed from my Grandmother, like re-hydrating and reviving something left to die. It was recorded at a very difficult time in my life when I was going to flee from horrific domestic abuse, so a certain amount of pain is still perceivable with a bit of sensitivity. I loved recording a whole lot of instruments. Perhaps the drums were my most liberating part... There's one last thing about "Ad Memoriam". I wrote that song on a train from Rome to San Cesareo (Roman hill) in 1996. At that time, things were pretty rough. When I get stressed, I am one of the few people that distract electronics and electrical appliances, like computers (this has been witnessed by many people now), phones, street lights... They simply go crazy around me. On rare occasions, things have been spinning around me out of nowhere. My mother thought I was possessed by the devil and even took me to an exorcist, and oh if that has been an experience! Not much for me, I was very bored until he got sick and I walked away. Anyway, the day "Ad Memoriam" popped into my head, I was at Termini Station when I bumped into Father Milingo, who was a rather well-known exorcist. I was very sad that day. He looked at me. I asked him why he was looking at me and if he thought I was a devil because things are always weird around me, and I write weird stuff. He smiled. Then after a pause, he shook his head saying no, and he said he thought I was an angel. He also said to hold on because things were going to get bumpy but also that I was able to overcome anything. And so it happened. I nearly died soon afterwards. But now I am here...
As for the favourite song, I don't think I have one. It really depends on my mood mainly. I am a hardcore Aquarian and whatever you read about my star sign is spot on. I am an Air sign, un-boxable, indomitable, one and 100 women in the same body. "Ad Memoriam" is a bit of a soft spot for me, in fact, you are inspiring me to make a video out of it. "Hassasse" is another track I am quite fond of because it's part of a necromantic ritual and, therefore, quite close to home. "Waterfall And The Pictures" is about my Grandmother (my Mum's Mother) with whom I am still so connected. "Das Gift Innen" and "Heads" maybe more represent my ideal keyboard sound. Maybe they are too many to mention. I suppose like many other artists I am fond of my songs as if they were my Children.

Jerneja: Mentioning The Danse Society, you are also the frontwoman of this legendary band. Since Terra Relicta published an interview with The Danse Society some months ago, I'll only ask you to sum up the impressions you have collected in the last ten years as a band member. And maybe some comparison with Blooding Mask regarding the nature of the work...
: It has been a fantastic ride. April will mark the first decade with The Danse Society. Since I joined, we released four albums, one EP, a few singles and countless videos. Shame to see David Whitaker go towards the end of 2014 but nice to have him back with his additional orchestra on Sailing Mirrors. I loved the fact that the band went towards reinventing itself rather than regurgitate the past in a loop and look like an impersonation of what they used to be. Former singer Steven Rawlings had a very distinctive presence and talent no other male singer would have done justice to. We are proud to have taken a brave turn. Of course, this was hard to understand for some at first. However, we noticed with a bit of time and hard work from my side, the majority of the older die-hard fans have embraced the band's evolution. I love the fact that we kept the old school vibe and fused it with the influence of younger musicians on board. The 80s Danse Society were young guys thriving. The current DANSE Society still preserves that young vibe. Quality is timeless. Paul Nash is a fantastic team player (and husband). Jack, Sam and Tom are awesome to work with. I don't deny the few changes of line up brought some drama but thankfully with there has been no sexism or issues of that kind for a few years now. We loved touring Europe and can't wait to start again. Playing music and playing music with rituals are two different ways of enjoying myself. With The Danse Society, I have to work on two different levels because the old catalogue needs singing on male notes mainly. It requires a certain amount of vocal flexibility and a limited ground for me, compared with Blooding Mask, which is totally outside the lines all the time. I personally enjoy both. They both come with challenges that make me learn so much, and the support is incredible. I am lucky!

Jerneja: Where did you first meet Paul Nash? What happened first love or business?
: Both, to be honest. It was mutual love at first sight, the moment we met. We met at the first band meeting, and we instantly got stroked like by lightning. I always get lost. My sense of direction sucks. As long as I drive on motorways, I can drive wherever, but outside motorways, even my phone sat navigation sends me always to random places. I was looking for David Whitaker's studio at the time, but I took the wrong exit, so I ended up in the middle of nowhere near Wakefield, so I texted Paul, saying I had no idea where I was. Within two minutes, I saw this old blue Celica pulling over and this tall, handsome man coming out of it, completely different from how he used to look, yet still incredibly attractive. I know we were in love in a previous incarnation. The rest is history.

Jerneja: Before Paul Nash, Blooding Mask used to be your solo project. But for the upcoming album, your husband joined you. How much of his ideas are in the new songs, and how is working with him?
: It will always gravitate around me because Blooding Mask is what other creatures speak through me. However, I have collaborated with precious partners in crime such as Awen-Hotep and Diego Banchero, Roberto Lucanato and Fernando Cherchi (the last three also in Il Segno del Comando, an Italian esoteric prog band). Paul is inevitably involved in it. We share so much because as he's my husband, we live together. However, never has tried to step into my dark place. He knows that door is unlocked, and that's why he never opened it. He is the best partner in crime. He's an excellent musician and artist, and I am someone dangling between this and other worlds. That never worried him, and that's why I am so comfortable with him to the point of exposing these messages and work them in the studio together. Imagine having an atomic bomb ready to explode in your hands. Most people would run away while he'd say, "ok then. Let's see where this takes us". That's Paul.

Jerneja: After 20 years of living in England, we may say you are well acclimated. What are the main differences compared to your homeland Italy (music business and life in general)?
: Some things have changed a lot in many ways, and some are exactly as they used to be. However, when you visit your homeland as a tourist it becomes a much more pleasurable experience. I love visiting Italy now because I can appreciate and enjoy its beauty, minus the bureaucracy and catholic influence I dislike. When you live in a country with dull weather for most of the year, you learn to love the simplicity of Italian food and sunshine. However, there's a lot to like and dislike in the UK too. Brexit has definitely lost a lot of points for me. It's turning this country as bureaucratic as Italy when I left. It has split the population in two. What brought me was multiculturalism and creativity, but now I am under the feeling that these are being treated as an inconvenience rather than something to be proud of. Musically speaking, both countries are struggling with little funds and covid putting both industries on their knees, yet so much creativity is still there. I am amazed every time I spot new bands and artists from both sides. Thankfully the tour with The Danse Society is going ahead regardless. I am looking forward to being on tour with Blooding Mask as well, after a decade...

Jerneja: You have partly answered my next question regarding planing live-gigs and tours when Corona related circumstances allow, of course. Do you miss live performances with Blooding Mask? Maybe share with us some great story...
: Oh, I miss gigs so much! With Blooding Mask, things are very different from performing with The Danse Society. The quality of the music is the same. It's just a different approach where I don't need to stick inside the lines. I enjoyed the Most Haunted Tour in 2010. A new one is definitely overdue. We loved every single date. My favourites have been in London and Rugby. In London, we had the luck of having the amazing actress Patricia Quinn (Rocky Horror Picture Show) and artist Marcus Sinclair (who sadly passed recently) watching our gig. We spent a fantastic time after the gig with them. In Rugby, I remember the headliner of the evening treating us a bit as a b sideband. Well, the public was so excited with us on stage they really joined the vibe. Once our gig ended, we had everyone welcoming us, and they all left with us afterwards. I am optimistic by nature, and I know all of us, artists and bands, will overcome this sad time and remember our beloved relatives who didn't make it, with love.

Jerneja: You record all, as I said,  the"million sounds" by yourself. How hard was it back then to compose all these sounds, regarding demanding interlacing voices and "poor" technology?
: It was even more exciting in some ways. My first recording ever was with an old Geloso wheel recorder. Then, when I was in my early teens, my Uncle Tom gave me a double answer machine which I used as a karaoke, overlapping voice on the voice at each run. It felt like a million-dollar studio at the time! I am lucky because recording since the early eighties meant living the full evolution from wheel and tapes to digital recording. In the end, you always find a way when you are inspired, even on a low budget like at that time.

Jerneja: You sing in many languages (Italian, English, Franch, German, Russian, Latin,...). Does this mean you speak all of them?
: I wish! Italian, English and Hieroglyphs, yes. Then basic French, Latin, Spanish ok. German... hmmm not. I understand Russian and a bit of Rumanian quite well but can't really speak it. I wish I had more time to learn.

Jerneja: A few more words about the upcoming album Autopsy Of A Dream... Shall we expect some heavy changes in comparison to your previous efforts?
: Yes. We all evolve. The first album was written in 1992. Autopsy Of A Dream will be out nearly 30 years later. How many things change in 30 years? More than we think. It will be more experimental but there will also be uptempo tracks, some orchestral moments, you'll see.

Jerneja: Since the end of last year, Terra Relicta radio listeners have the privilege of listening to your new song "Speed Of Love". Is this one of the songs from your upcoming album, or...?
: Yes, however, it will be in a more orchestral/operatic version.

Jerneja: You have also recorded cover songs as David Bowie's "Heart Filthy Lesson" and "Beltane Walk" by T-Rex. By the way, I found them even better than the originals. Are you planning to record more cover songs; maybe you already have the next one chosen?
: I am hoping to complete a personalised version of the original score of "The 5th Element". It's very challenging. It will be very Bloodinkmaskasized. I like the occasional cover. Like many artists, David Bowie is a massive influence for me. He has performed in every possible music genre and was able to do literally everything. He reminds me of historical figures such as Imhotep, who was born human and then became a deity. We have been so lucky to witness his career.

Jerneja: Who is the creator of the Blooding Mask album's covers? The 5 Monsters album also has an unusual CD cover, and it was released in a movie with a full novel acted version as well. Are you planning any such surprises also with the upcoming album?
: I designed all my covers. Autopsy Of A Dream is being designed with the collaboration of my stepson Callum Nash, an excellent designer who also designed The Danse Society cover for VI and the White Rabbit on our band merchandise.

Jerneja: Besides music, you also devote yourself to animals, especially your (soon again to be two) boxers. Tell us something about this engagement of yours...
: My Dad had "boxeritis" (a made-up word to indicate when you love boxer dogs so much it's like an incurable virus). I learned to walk with our family boxer girl walking slowly to support me. To me, Boxer isn't just a dog breed. All animals are wonderful, don't get me wrong. My appreciation isn't aiming to dislike any other animal. I simply have "boxeritis" because it's in my DNA. Boxers are beyond the TV advertisement that turned them into the target for a heartless expensive exploitation. I had eight boxers in my life and a new one coming from Italy. Their personalities are all different but in common, and unlike other dogs, they have a strong guardian instinct mixed with an eternal puppy-like behaviour. All guard dogs protect the family and can become deadly weapons. All guard dogs are also soft and adorable with their family. However, boxers are also total bonkers and appreciate direct contact with you more than other guard dogs. You can forget to have a happy boxer if you raise them to stay in your garden. They are not dogs for everyone. I am comfortable with them because of the way they match exactly with my personality. I am just as protective and loving towards my family. "Boxeritis" is a virus I don't want to heal.

Jerneja: Is there something you would like to share with Terra Relicta readers that I might forget asking you? Or maybe any message you have for us?
: I wish you and your readers to be safe and happy. These are hard times for artists, but so they are for everyone else. Last year, even though we had to freeze our tour with The Danse Society, I was so humble to enjoy so much support. I so look forward to meeting you all at some point at our gigs with Blooding Mask, as well. Nothing beats direct contact. No matter how big or small artists are, your support is always a huge part of our life, and I will always work hard to deserve it. Thank you.

Jerneja: Maethelyiah, thank you for taking the time for this interview. I'm looking forward to listening to your upcoming album Autopsy Of A Dream, and hopefully, sooner than later, attend some of your live-shows.
: Can't wait to send you new tracks. Thank you.

Blooding Mask discography:
- All The Colours Of Death (1993)
- What That Hollow Shows Through (1994)
- The 9 Pearls On The Trail (2000)
- The 5 Monsters (2008)
- Autopsy Of A Dream (2021)

Blooding Mask links: Official website, Facebook, Bandcamp